When Keller Dover's daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts. But just how far will this desperate father go to protect his family?
A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
In South Central Los Angeles, street cops Brian and Mike are partners - balls-out cowboys patrolling the streets as Latino gangs are in a power struggle with Blacks. Brian and Mike get lucky a couple of times, making big drug and human-trafficking busts, so a Mexican cartel orders their deaths. We meet Mike's pregnant wife (whom he married out of high school) and watch Brian's search for a soul mate. There are internal squabbles within the ranks of the LAPD and lots of squad-car conversation. Can the lads escape the cartel's murderous reach? Written by
The scene where Janet and Brian are singing in the car during a road trip was unscripted. Jake Gyllenhaal and Anna Kendrick were driving around with the director in the back seat filming different scenes for the movie. At one point between takes, 'Hey Ma' by Cam'ron came on the radio and Gyllenhaal and Kendrick started to sing along and the director began to secretly film them. Both Gyllenhaal and Kendrick were completely unaware that the moment had been caught on camera until they watched the movie at a screening. See more »
As Taylor and Zavala drive towards the house they set out to search, there is no passenger cage in the vehicle they are driving. However as they exit the vehicle, another shot shows their vehicle to be a marked Police Interceptor with a passenger cage installed. See more »
I am the police, and I'm here to arrest you. You've broken the law. I did not write the law. I may even disagree with the law but I will enforce it. No matter how you plead, cajole, beg or attempt to stir my sympathies, nothing you do will stop me from placing you in a steel cage with gray bars. If you run away I will chase you. If you fight me I will fight back. If you shoot at me I will shoot back. By law I am unable to walk away. I am a consequence. I am the unpaid bill. I am ...
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This film is dedicated to the men and women of the law enforcement community who face danger daily on our behalf. It is especially dedicated to our fallen heroes who have made the ultimate sacrifice in the line of duty. This is for all that fight evil so we may not know it. God bless you all. See more »
It's not hard to tell that David Ayer grew up on the mean streets of South Central, Los Angeles. Training Day, The Fast and the Furious, Dark Blue and S.W.A.T. all showcase his passion for writing screenplays about these streets and the role that police officers play in them. His two films as director (Harsh Times and Street Kings) showed that he could also direct hard hitting dramas depicting the underbelly of the L.A. and the police force. End Of Watch marks Ayer's second film as both writer and director.
Jake Gyllenhaal and Michael Peña star as a two young officers in the Los Angeles Police Department. Using the "home footage" format of filmmaking, End Of Watch shows us the ups and downs of these two young officers as they work, love and fight in the streets of Los Angeles.
In terms of subject matter this film doesn't cover anything really different. Its about cops dealing with their issues at home and on the job. This topic has been covered countless times but what makes End Of Watch different and better then many of its predecessors is that it holds realism as its number one priority. This is one of the most realistic portrayals of police life ever put to celluloid. The day to day lives of these two best friends are shown in a format that is both convincing and horrifying. It doesn't flinch away when showing the disturbing aspects of this high pressure career.
Using everyday video sources (chest mounted cameras, vehicle cameras, P.O.V angels, aerial shots from police choppers) definitely gives the film an unprecedented level of proximity to cops in the line of duty. Unfortunately, this format doesn't always work. Some chaotic scenes become a little bit confusing when the camera is constantly changing from first person shots to third person angles. But for the most-part it works well.
Gyllenhaal and Peña provide us with two highly believable characters and their chemistry is palpable. Whether they're talking about the women in their lives or having a friendly argument about racial stereotypes, these two actors ensure that we stick with their characters through every step of the way. Gyllenhaal continues to solidify himself as one of the best actors around and Peña delivers one of his best performances to date.
It's got a great script and a focused story that is handled confidently and told well. David Ayer has crafted an intense, hard hitting drama that benefits from the two excellent performances by the two leads.
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